-
Welcome to ASR. There are many reviews of audio hardware and expert members to help answer your questions. Click here to have your audio equipment measured for free!
MiniDSP Flex HTx
- Thread starter MAB
- Start date
I think that it will give me much more control in the BASS area, as these are homebuilt subs and I do not have all the cool features of newer active subs.
So it is mostly about having modern controls.
Had some time to work with the Flex HTx, so here is the setup. The system is a Denon X3700H in pre pro mode (5.0, all speakers set to Large, LFE disabled) feeding a miniDSP Flex HTx with 8 by 8 analog out. Output channels feed a Monolith 2 for the left and right mains, an Adcom 7605 for the center and surrounds, Canton Karat 300 for left and right, and two HSU VTF 15H subs, the left being a Mk1 and the right a Mk2. The Karats have putty sealing the baffle edges and felt strips around the tweeters. Both subs were set to max Q, EQ2, one port open, with the volume knobs at about nine o clock.
With the AVR operating in 5.0 and no LFE channel active, LFE content is folded into the front left and right preouts. The Flex HTx receives full range left and right inputs. The left sub is fed from the left channel and the right sub is fed from the right channel. All crossover filtering is done in the Flex HTx. The Karat 300 speakers are high passed at 60 hertz using LR24 slopes and the subs are low passed at 60 hertz using LR24 slopes. No bass management is active in the Denon.
Gain matching, delay alignment, and sub to main integration were done in the Flex HTx. Denon trims are set to 0 dB and Audyssey is disabled. For these distortion sweeps, Denon master volume was set to minus 25 dB and the miniDSP output trims were at 0 dB. Based on the fundamental level in the graphs, sweep level at the listening position was in the low 80 dB range.
Measurements were taken at the main listening position with a UMIK 2 pointed straight up at 90 degrees. Just wanted to capture sound in all directions. This is an open concept room with no acoustic treatment, so reflections above about one kilohertz will influence the results.
The two attached plots show distortion for the left Karat 300 with both subs operating and the right Karat 300 with both subs operating. The graphs include the fundamental, the third harmonic, and total harmonic distortion for easy reading.
With the AVR operating in 5.0 and no LFE channel active, LFE content is folded into the front left and right preouts. The Flex HTx receives full range left and right inputs. The left sub is fed from the left channel and the right sub is fed from the right channel. All crossover filtering is done in the Flex HTx. The Karat 300 speakers are high passed at 60 hertz using LR24 slopes and the subs are low passed at 60 hertz using LR24 slopes. No bass management is active in the Denon.
Gain matching, delay alignment, and sub to main integration were done in the Flex HTx. Denon trims are set to 0 dB and Audyssey is disabled. For these distortion sweeps, Denon master volume was set to minus 25 dB and the miniDSP output trims were at 0 dB. Based on the fundamental level in the graphs, sweep level at the listening position was in the low 80 dB range.
Measurements were taken at the main listening position with a UMIK 2 pointed straight up at 90 degrees. Just wanted to capture sound in all directions. This is an open concept room with no acoustic treatment, so reflections above about one kilohertz will influence the results.
The two attached plots show distortion for the left Karat 300 with both subs operating and the right Karat 300 with both subs operating. The graphs include the fundamental, the third harmonic, and total harmonic distortion for easy reading.
Attachments
- Joined
- Jul 12, 2024
- Messages
- 1,932
- Likes
- 2,914
How does it sound? Those fr graphs look a little rough to my eye.
I dropped the Denon x4800h and just use the htx as an AV pre-amp.
Honestly it sounds good in the room. My wife found out what I spent and didn’t even blink. She actually sat down and went through a bunch of songs and enjoyed it, and she usually has a better ear than I do, so I use her as a sanity check when I’m dialing things in. She gave me a hard time for most of the system while I was building it, but this time she didn’t.
It was a bit much for her during Stranger Things season 2, so I made a preset with a lighter low end. Between the routing, delays, and control I get out of the Flex HTx, I honestly feel like that upgrade changed more about the sound than moving up to 15 inch subs did.
- Joined
- Jul 12, 2024
- Messages
- 1,932
- Likes
- 2,914
Oh excellent.
So no DSP yet? Audyssey is good. I like Dirac better but only by a small amount. That will get it even better sounding.
Honestly when I have some time I’m probably going to sweep each speaker individually and do a bit of manual EQ. I do want to tighten the timing and integration of everything together.
Oh wow. I think you will saved future me ALOT of time. Thank you so much. I initially purchased a DDRC 24 but realized after I ordered that was just a 2x4 HD in disguise so I upgraded to Flex HTx through customer support e-mail so my purchased never properly got registered. I am emailing them to tie my serial number so I can purchase the integration.
- Joined
- May 7, 2023
- Messages
- 114
- Likes
- 143
Does this mean you've set the AVR to have only 5.0 and mix the LFE in? Not sure why you'd do this, since LFE is definitionally mono -- why not use 5.1 on the AVR and then manage the LFE mix on the HTx?
(Just curious! If you're happy with the results I guess this is working for you.)
AutoEQ is a solid feature. Most of its suggestions centered around the crossover region, which wasn’t where I wanted changes, so I went back to what I’m more comfortable with: manual sweeps. I only made a couple mild voicing tweaks on the right side to better match the left.
Running 5.0 is also intentional. I prefer to let the Flex HTx handle all bass management, timing, and routing on its own. It keeps the signal path clean and avoids having both the AVR and DSP trying to manage the low end. And in my head, if I’m paying for the Flex HTx, I’d rather have it set the crossover and filters than the Denon. I also tried looking into how the Denon actually manages the crossover between the subs and mains and couldn’t find anything documented, so I figured it was better to take that out of the equation. I guess I tune first for music and just let the cards fall the way they do for movies.
Here’s the 2D spectrogram of both mains + both subs:
Attachments
- Joined
- May 7, 2023
- Messages
- 114
- Likes
- 143
But the use of the word "LFE" implies source content that already has a .1 LFE channel. This is what I would do if I was keeping the AVR (which I would not, but that's just me!)
- Set L/C/R/Ls/Rs etc to "full range" on the AVR so it doesn't do bass management.
- For content with .1 LFE channel already: get that into the HTx on a dedicated input, and then you can decide what to do with that in terms of your routing/sub setup/any other filtering/delays etc.
- For the full-range signal for the rest of the channels, you can use the bass management in the HTx to route to your subs or not, as you wish.
This way, you preserve the "rumble" or sub-bass in the LFE channel in a dedicated unmixed input.
This is cleaner than your AVR mixing the LFE into the 5.0 and then you splitting it out again.
In other words: bass management is not the same as the dedicated LFE channel in x.1 content.
All just my opinions, I offer for your consideration or dismissal.
- Set L/C/R/Ls/Rs etc to "full range" on the AVR so it doesn't do bass management.
- For content with .1 LFE channel already: get that into the HTx on a dedicated input, and then you can decide what to do with that in terms of your routing/sub setup/any other filtering/delays etc.
- For the full-range signal for the rest of the channels, you can use the bass management in the HTx to route to your subs or not, as you wish.
This way, you preserve the "rumble" or sub-bass in the LFE channel in a dedicated unmixed input.
This is cleaner than your AVR mixing the LFE into the 5.0 and then you splitting it out again.
In other words: bass management is not the same as the dedicated LFE channel in x.1 content.
All just my opinions, I offer for your consideration or dismissal.
Yeah, the big upside to your approach is having a true discrete LFE channel, which definitely gives you more flexibility if you want to shape the 0.1 track separately for movies.
For my setup though, 5.0 has just been easier to live with. I don’t even use the built in bass management block on the Flex. All my crossovers and PEQ are done on the output channels, so the Flex ends up handling the entire low end exactly the way I want it. Once you go with a discrete LFE path, you are managing two different low frequency paths and you have to keep the LFE level matched to Dolby’s spec, which I think is supposed to be about +10 dB. None of that is difficult, it is just more moving parts than I need.
So I stuck with 5.0 since it keeps my workflow clean and predictable.
Last edited:
Had more time today messed around and went in steps of .05 / .1ms delays for sub to sub and speakers to subs. Than narrowed it down a little more. Did a frequency sweep of all 5 speakers (Canton Karat 300, M&K 750C, Polk OWM3) and both subs (HSU VTF-15H MK1 and HSU VTF-15H Mk2). Main focus was just evaluating smoothness at the crossover region. My goal essentially is to have all 7 have a unified wavefront at MLP manually measured down to .01-.05ms accuracy. This is the 2d spectrogram. I really like what the Flex HTx allows you to do.
Attachments
Similar threads
